Avantgarde Gallery
Liedtke-Muesum. Puerto de Andratx, Sa Mola

Creation 2019

Dieter W. Liedtke
ES-07157 Puerto de Andratx Mallorca
(Released for publication with the pictures and graphics free of charge.)


Part II


Can works of art and not man-made creations have a common origin?

About 55 years ago, in my office in Essen / Germany for "Inventions to order", I wanted to know what innovation or art actually is and whether art (i.e.: all arts) can be made comprehensible with the help of a formula: "What is art and what is not art? "and what influence does art or innovation or evolution have on brain networking and thus on people and social systems?

If one wants to answer the question of what creation and/or art ultimately means for our development, then, in order to get to the core, one inevitably arrives at larger contexts given by nature, from human creations such as the arts, technology and inventions to creations not created by man, such as the universe, matter, life, genetics, biological evolution systems and any development in infinity.

Is there a connection? Do the creations of man "the arts" develop according to the same rules as those of the NON-HUMAN CREATIONS?

It is certain that we have evolved from matter according to existing or non-existing rules of creation and evolution of the universe.

However, according to new empirical research results from the natural sciences, it cannot be assumed that our existence in being has developed with external laws of the universe or only by chance. We just do not see the connections, rules and laws.
The question remains: does a theory or even formula exist in secret that explains our existence and can possibly be derived from art.

In the 60s I began to create a disordered picture of all areas through my artworks, in which and for which there were no answers from philosophy, art or the natural sciences. In doing so, I examined the possibility of finding statements or answers in my artworks and gradually developed the ability and technique to intuitively express insights in these complex subject areas in my works. In this way, I used art to find answers to unsolved questions in genetics, evolution, art, matter, time and space, the universe, society and world religions, and, independently of the existing religions, to ask the question of the existence of God. To date, 15 statements / solutions from the works and series of works created in this way have anticipated the contents of Nobel Prizes as well as numerous hitherto unawarded scientific research results by decades.

From my search for an all-encompassing creation formula, it emerged in the early 1980s that in my book "The Consciousness of Matter" (published in 1982, in which I also published a first version of the art formula which states that art does not exist without innovation) I described the existence of dark matter and dark energy as "cosmoranes". In the 1990s, these two 'siblings' were calculated by astrophysicists as the building blocks of the universe and called 'dark' because of their unknown origin and properties.

My pictorial works and the book published in 1982 also reveal in a new theory the origin of these 'Dark Siblings' and the art formula basically connected art with innovation or information and the Dark Siblings. But it was Joseph Beuys who had read the book and in 1984 gave me the "assignment" to define art so simply that every 8-year-old can understand its essence.

I came to the conclusion
I can only find a sustainable solution that is in line with nature and evolution with the approach of an eternal view and without fears:

"Always think and act as if you will live forever."

What happened in our development and when?

I wanted to get to the bottom of the origins and motivation as well as the meaning of the negation of the art formula (the creative achievement of man) and thus the ignorance of evolution and the improvement of the living conditions for all people. To do this, however, I first had to understand the whole thing and that down to its basis. Trying to find a formula for the universe and then to transfer this formula, as far as it is correct, to living beings, biological and social systems (genes, DNA...), to religious communities and societies and to the organizations within the universe of which they are parts.

Because in my opinion everything has developed according to the same rules: human creations, evolution, biology and DNA, social systems, religions, culture and the evolution of the universe. Everything has only one law, only one basis: For this I had to develop 97 new theories (which also apply to the past mysteries of our culture) and set new premises, which I derived from my works of art created up to that time and listed with the introduction and statements of scientists, which have been combined to a revolutionary world view by the Fundación Liedtke.

It took me another 17 years or so to develop the formula for human creations (the art formula) from my work with the 97 new theories and transform it into a physical formula that also explains non-human creations, such as

the universe
matter
our mind
the period
the room
the infinity
biology
our neuronal networking
our genetics
evolution
God or creation

and which can help us to create new paths for the future and open a door to a new ethical world, to understand which parameters should be adjusted to allow a new ethical society to develop.

Transformed to the natural sciences and humanities
creation formula is:

i = E = MC2 (i for information or innovation)

The explanations of the theory can be purchased as a book at amazon or in bookstores and thus the formula can be checked by yourself or by "your own" scientists.
The title: "Information - The Principle of Creation-"

It is shown that the graphic art formula for creations as an evolutionary formula can also be transformed to the natural sciences and humanities.

 

diste

=

Transformations of the art formula

i = E = MC2
(physical and astrophysical)


i = E = M
(E = Evolution M = Manifestation)
(biological, genetic, cultural, religious, social)

i = M
(theologically M = manifestation and scientifically M = Mass)

i = M = i
(Creation)

 

It may be that the theory and the formula i = E = MC2 that arises from it make as much or little sense as previous attempts to create a world formula. But I think it is worth seriously examining the theory, because for the first time it scientifically conclusively and empirically solves all the mysteries of the universe and our development beyond the existing and repeatedly sought and presented models of the world, some of which only exist in the minds of their discoverers.

In order to test its durability, its stability, the formula would have to be worked on by all areas of science "like cold iron with scientific sledgehammers" and thus tested for its resilience. If the formula withstands this, and if it proves itself in this test, it seems to be the right solution to a scientific explanation of the world, including a clearly defined creative force. The theory starts from the creations of man - namely art - and then explains the results of research in the natural sciences from a new perspective. To this end, I started from the unsolved questions of the humanities and natural sciences and designed a model of the universe in which the riddles are solved by means of logical, comprehensible and empirical research results, and answers are also revealed in their entirety as part of a theory and formula. 


Information
- The principle of creation -
Seiten: 784 / Bilder: 248


„Dieter Liedtke's insights and works of art require the construction of an observer, namely God, for whom time as the totality of all points in time is present".


Prof. Niklas Luhmann
Social scientist and social theoristConsultant
of the código universo art open art exhibition

Dieter Walter Liedtke's Concrete Evolutionism opens up a new revolutionary world to the viewer. He shows how matter, which until now has only been the object and medium of artistic representation, could in turn perceive its surroundings. This information has a mind-expanding function“

Prof. Karl Ruhrberg,

Art historian and author of art books former director of the Museum Ludwig Köln President of the international
Art Critics Association (German Section, AICA) Advisor of the Codigo Universo art exhibition art open